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Volume 1 3 
Number 3 



Adult Entertainment 

Collecting Movable Books and Prints 

in the Renaissance 

Suzanne Karr Schmidt 
Jersey City, New Jersey 

Movable books have not always been considered 
works of art worth serious study, though collectors have 
been aware of their charms for centuries. I hope to renew 
their scholarly appeal with the art-historical dissertation 
I am currently completing at Yale: "Art — A User's Guide: 
Interactive and Sculptural Printmaking in the 
Renaissance." Scholars were in fact the first to play with 
pop-ups. They could read, which helped. Almost from the 
beginning of printing in Europe, books and single-sheet 
woodcuts and engravings harbored moving flaps and dials 
in varying states of construction. Some remain untouched 
in their original uncut sheets, while others bear user 
annotations and corrections. ' Humanists also cut out and 
built supplementary sheets from books into three- 
dimensional objects pasted onto wood — such as sundials, 
astrolabes, or game boards, all of which functioned, could 
be colored, and often bore stunning printed designs. (Fig. 
1) As I argue in my thesis, following textual or graphical 
instructions to construct and use these devices ultimately 
taught their owners to appreciate the subtleties of hands- 
on art. These interactions could also be quite enjoyable. So 
how did movable books and prints entertain the early 
Modern adult? 


1 Ml 


Figure 1 

Sadly, no known 16 th century collector amassed 
a trove solely composed of these rarities, and no early 
inventories survive which identify them by type. 2 

Continued on page ! 2 

Movable Book Exhibition Catalogs 

Frank Gagliardi 
Plainville, Connecticut 

About two years after I began collecting pop-up books I 
visited Gay Walker's "Eccentric Books" exhibit which was 
held in Yale's Sterling library between January and March, 
1988. The exhibition included examples of pop-up, flap, 
revolving, shaped and fold-out books. Ms. Walker produced 
a catalog for this exhibition which included two pop-ups. 
The colophon stated that "only 1 50 or so copies were made." 
It is not known how many copies were eventually produced. 
My copy of her catalog is numbered 183. 

I was hooked and began to collect catalogs that 
documented pop-up and movable book exhibitions. This type 
of publication ranges from paperbacks and one page 
checklists to hard cover productions. My favorite catalogs, 
of course, are those that contain pop-ups. There seems to be 
a new trend of sending out pop-up invitations to pop-up 
exhibitions and I collect these as well. 

While the 1980s witnessed an explosion in the 
publication of pop-up and movable books they were not 
taken very seriously until late in the decade. Were these 
books dismissed because they were children's books? I do 
not know. 

For reasons of cost, lack of energy, or time, some 
exhibitions are not accompanied by a catalog. For example, 
in 1987, the Smithsonian's Cooper-Hewitt National Design 
Museum in New York City hosted "Surprise! Surprise! Pop- 
up and Movable Books." While the exhibit received 
extensive press coverage and the bookstore offered some 
pop-up books for sale, no catalog was ever produced. 

As part of this article I have compiled a checklist of 
exhibition catalogs. Like so many bibliographies, it is 
incomplete and out-of-date. My major source of information 
about exhibition catalogs comes from members of The 
Movable Book Society as well as the newsletter. While I own 
many of these catalogs, there are some that I have not seen. 
I would appreciate hearing from you if you have corrections 
and additions. Do not hesitate to act if you wish to collect 
this type of catalog. Frequently these catalogs are printed in 
a limited edition and quickly go out of print. 

Continued on page 2 

The Movable Book Society 

ISSN: 1097-1270 
Movable Stationery is the quarterly publication of The 
Movable Book Society. Letters and articles from members 
on relevant subjects are welcome. The annual membership 
fee for the society is $20.00. For more information 
contact: Ann Montanaro, The Movable Book Society, P.O. 
Box 11654, New Brunswick, New Jersey 08906 USA. 

Daytime telephone: 732-445-5896 

Evening telephone: 732-247-6071 


Fax: 732-445-5888 

The deadline for the next issue is November 15. 

Continued from page 1 

For example, only about 1 ,000 copies of Pop Up Het Boek 
in Beweging were issued. There are no plans to reprint it 
and, if the collector is fortunate to locate a copy, the price 
is 300 euros. 

I would like to mention a few of these catalogs in more 
detail. The late James Sinski set up 12 pop-up exhibitions 
at the University of Arizona between 1989 and 1999. 
Many of his catalogs contain a simple pop-up. Because of 
a falling out with the library administration at the 
university, his comprehensive collection was donated to 
the Pratt Institute in New York. 

One of my favorite catalogs is Pop-up, Llibres 
Movables I Tridimensionals issued in 2000. In addition to 
two pop-ups, this catalog contains a movable 
metamorphoses. The front cover has a wheel, that when 
turned, creates the illusion of a little girl writing and then 

erasing on a blackboard. 

The Bienes Center 
for the Literary Arts is 
located in the Ft. 
Lauderdale, Florida 
main library. The staff 
of this center has created 
a series of attractive 
catalogs to accompany 
several pop-up exhibits. 
Their latest catalog Pop- 
ups, Illustrated Books 
and Graphic Designs of 
Czech Artist and Paper 
Engineer, Vojtech 
Kubasta (1914-1992) 
was issued this year. 

Compiled by James A. Findlay and Ellen G. K. Rubin, this 
history and bibliography is the most scholarly work of the 

Picturing Childhood, Illustrated Children 's Books from 
University of California Collections, 1550-1990 is not 
limited to movable books. It is an unusual catalog in that it 
provides illustrations of the cases and exhibition rooms. 
Members of The Movable Book Society who attended the 
convention in Los Angeles were given a private tour of this 

In Spain, the 
collector Ana 
Maria Ortega 
Palacios has been 
introducing her 
countrymen to 
movable books 
through a series of 
throughout the 
country. She has 
also issued a series 
of wonderfully 
illustrated color 

+"*-: A This Magical Vook 

This Magical Book 

Beautifully illustrated with detail notes is the Toronto 
Reference library's catalog for This Magical Book:, Movable 
Books for Children, 1771-2001. The frontispiece contains a 
working transformation first published in 1874. 

In France, Jacques Desse, has issued two beautiful 
publications that serve both as exhibition catalogs as well as 
bookseller catalogs. His first catalog was Livres Animes une 
exposition organisee par Jacques Desse et le Marche 
Dauphine 2002-2003. 

My latest acquisition is Pop Up A Site! Les Jouets en 
papier collection Quim Corominas a catalog issued for an 
exhibition June 2003-January, 2004. It was published in 
French with an English summary. This accordion fold book 
is a beautiful example of French color printing. 

In conclusion I would like to mention Edward H. 
Hutchins who has issued several catalogs, some of which 
have appeared in unusual formats. Ed has created a variety 
of artists' books. In addition, he has created several traveling 
shows of artists' books. Many of these clever creations 
contain movables. In 1 999, a catalog was issued for Beyond 
the Fold, Artists ' Books: Traditional to Cutting Edge a show 
curated by Ed and Judith K. Brodsky. 

Livres Animes, 2004 

Movable Book Exhibition Catalogs and Hand Lists: 
A Checklist 

Frank Gagliardi 

Alice, and Look Wlio Else, Through the Looking-Glass. Bernice Steinbaum Gallery, New 
York. December 10, 1988- January 7, 1989. Not seen. Magnifying glass attached 
to cover. 63 pages. 

Beyond the Fold: Artist Books: Traditional to Cutting Edge. Gallery of South Orange 
(New Jersey). September 12 - October 31, 1999. 26 pages. Illustrated. Lists 47 I 

Books & Bookends Sculptural Approaches 1989-1991. Traveling exhibit curated by Carol 
Barton Issued in 1990. 73 pages. Illustrated catalog, some in color. I only have the 
prospectus sent to museums and galleries. 

Brooklyn Pops Up. Ann Montanaro, Ellen Rubin, Robert Sabuda. 2000-2001. Pop-up 
book, history of pop-ups, and a checklist of the exhibit. Edition limited tol50 
copies signed by paper engineers. 

Eccentric Books 

Creativity: Tlie Flowering Tornado, Art by Ginny Ruffner. Montgomery (Alabama) 

Museum of Fine Arts. 2003. Have not seen. 12 pages. Pop-up catalog of a fine art exhibition. 

Eccentric Books: Arts of the Book. Yale University Library. January - March 1988. 62 page catalog contains a pop-up and 
was my first exhibition catalog. Limited to only 150 copies - however my copy is 183. Done up on a computer. 
Bibliography and history. 

Exposicion de libros Movilesy Desplegables. (Spain) Toledo , February 1 8 - March 28, 2004; San Antonio March 3 1 - April 
30, 2004; Morata de Tajufia, May 12 - June 9, 2004; Calatravo, October 14 - November 20, 2004; Centa, November 
25 - January 8, 2005. 16 pages. Illustrated. Collection of Ana Maria Ortega Palacios and Alvero P. Gutierrez. 

Flights of Fancy: The Books of Edward H. Hutchins. Salena Library Center, Brooklyn Campus, Long Island University 
(N.Y.). September 3 - October 3, 1996. 6 pages. Illustrated. French door fold. 

Gadzooks, Pages Alive! Artist Books by Ed Hutchins. Park Row Gallery, Chatham, N.Y. October 4 - 18, 2002. 18 pages. 
Illustrated. 2 pop-ups. Dial on cover. 

Ideas in Motion: The History of Pop-up and Movable Books: Books & Ephemera from the Collection of Ellen G.K. Rubin. 
Sojourner Truth Library, State University of New York, New Paltz. April 11 - 30, 2005. 18 pages. Illustrated. 
History, bibliography, and list of materials on display. 

Libros Desplegables. Coleccion de Ana Maria Ortega Palacios. Pop-up Book Exposition. 
Centro Cultural Provincial, Palencia, Spain. December 23, 2002 - March 21, 
2003. Book must be turned to be read. 

Libres Mobils I Desplegables. March 1 1 -April 29, 2005. Unaexposicioorganitzadaper 
Obra Social Caja Madrid. Comissariada per Alvaro Gutierrez. Colleccio d'Ana 
Maria Orgega. 47 pages. Illustrated. One pop-up. Barcelona, Espai Cultural Caja 

Livres Animes. Bookseller's catalog assembled by Jacques Desse. 2004. Consists of 473 
movables. Illustrated. Marche Dauphine, Paris. 

Livres Animes Deux Siecles de Livres a Systemes. Marche Dauphine, Paris, December 
21,2002 - January 27, 2003. 69 pages. Exhibition Catalog of 300 movable books 
from the 1 6 lh through 21 s1 century. It is also a book seller's catalog with price list 

Livres Animes, 2002-2003 

assembled by Jacques Desse. 

Livres Animes: 15e - 20e Siecle. Bibliotheque municipale de Rouen, France. Septembre - Octobre 1982. A hand list 

Magical Movable Books, 1584-1994. Los Angeles Convention Center. May 28-3 1 , 
1994. 11 pages. Illustrated. List of 260 books. Brief history of movable 
books. Intervisual Communications. Slat dissolve built into front cover. 

Magical Movable Books 1560-1990: Presented at the Bologna Children's Book 
Fair. 8 page checklist. Exhibition set up by Intervisual Communications. 

Northport (N. Y.) Pops Up! Museum Cove of the Northport Public Library Introduces 
an Exhibit Featuring Pop-up Books Past and Present. September 2004 - 
January 2005. 10 pages. Illustrated. [4 page pamphlet listing pop-ups for 
sale. Pop-up of a bear]. 

Paper Engineering 

Paper Engineering: The Pop-up Book Structures of Vojtech Kubasta, Robert Sabuda and Andrew Binder. Bienes Center for 
the Literary Arts. Fort Lauderdale, Florida. January 16 - March 12, 2004. Bienes Center has offered a number of 
movable book exhibitions with catalogs. 35 pages. Spiral pop-up. 

Paper Toys: An Exhibition of Paper Dolls, Pop-up Books, Paper Soldiers, Construction Toys, Games, Puzzles and Other 
Amusements. New Britain (Connecticut) Youth Museum. March 8 - 
September 30, 2004. No catalog. Curated by Debby Phiefienberger. 

Picturing Childhood, Illustrated Children 's Books from University of California 
Collections 1550-1990. April 16 - June 29, 1997. Beautifully illustrated. A 
checklist. Bibliography and history and what is unusual. Photographs of the 
exhibit itself showing rooms and cases. Not all pop-ups. 64 pages. 

Pop-up a Sete! Les jouets en papier. Collection of Quim Corominas. June 2003 - 
January 2004. 26 pages with English translation. Musee International des 
Arts Modestes, Sete, France. 2003. Accordion fold. 2 pop-ups one double 

Pop-up Books for Adults and Other Children. Hemingway Western Studies Center, 
Boise State University (Idaho). July 10 - September 10, 1992. 16 pages. 
Frontispiece abstract pop-up. One of 300 copies. Describes 38 movable 
books. Tom Trusky set up this exhibit to keep faculty from taking exhibit 



Picturing Childhood 

Pop-up: Die Dreidimensionalen Biicher des Vojtech Kubasta. By Thomas Gubig and 

Sebastian Kopcke. Sammlung Industrielle Gestaltung, Berlin. November 2003 - March 2004. 95 pages. Illustrated. 

Pop Up Het Boek in Beweging. By Jan Torringa Pre Press Studio. Groenendaal Nieuweg ein 1996. 400 years of movables. 
Stadsbibliotheek, Harlem, Netherlands. 

Pop-up: Llibres Movibles I Tridimensionals Fundacio Caixa de Girona. December 1 7, 1 999 - January 6, 2000. The grandest 
of all exhibition catalogs with 132 pages. Wheel in cover showing girl erasing black board. Contains working 
metamorphasis. 2 pop-ups. All in full color. Preface by Robert Sabuda. First such exhibition in Spain. 

Pop-up, ou le Livre magique of het Magische Boek. Brussel, Musees Royaux d' Art et d' Histoire. November 11,1 993 - March 
20, 1994. In French and Dutch. 2 pop-ups. Color plates. One of about 1,000 copies. Not seen. 

Pop-up: Peek, Push. Pull. Scratch, Sniff. Slide, Spin, Lift, Look, Listen, Raise, Lower, Unfold, Turn, Open, Close: An 
Exhibition of Movable Books and Ephemera from the Collection of Geraldine Roberts Lebowitz. Bienes Center for 
the Literary Arts. Fort Lauderdale, Florida. May 31 - September 15, 2001. One of 650 copies. 

The Pop-up World of Ann Montanaro. Special Collections Gallery, Archibald Alexander Library. Rutgers University, (New 
Jersey). April 19 - July 31, 1996. 30 pages. Hand list describing 83 items. Limited printing. 

Pop-ups, Illustrated Books, and Graphic Designs of Czech Artist and Paper 
Engineer, Vojtbch Kubasta, (1914-1992). By James A. Findlay and Ellen G. 
K. Rubin. From the collections of Ellen Rubin and Dagmar Kubasta. Bienes 
Center for the Literary Arts, Broward County Libraries, Fort Lauderdale, 
Florida. January 24 - April 30, 2005. 137 pages. Illustrated. Describes 150 
items. 1 pop-up by Robert Sabuda. 500 copies. Includes a bibliography and 

Renaissance Pop-Ups: Interactive Books at the Beinecke Library [Yale University]: 
1474-1677. Curated by Suzanne Karr. November, 2003. Exhibition checklist 
in tri-fold brochure. 

Sinski, James T. Sinski issued a series of flyers and catalogs to mark his annual pop- 
up and movable book exhibits at the University of Arizona Library. (He 
passed away in 2004 at age of 87.) Because of a falling out with the 
University of Arizona, his collection went to Pratt Institute (New York). In 
addition to some correspondence, I have catalogs 1-12. Little pop-ups. 

1 st 

2 nd 


5 th 
6 th 

Pop-up: Peek, Push, Pull.. 

Pop-ups in the Old Pueblo. December, 1988 - January 1989. 
Wlwt 's New in Pop-ups. December, 1 989. 
Surprise and Delight. December 1 990. 

The Best of 3-D Books, Antique and Contemporary 1548-1990. December, 1991 . 
Pop-up Engineers and their Creations. December, 1 992 - January 1993. 

Pop-up and Movable Books Produced by Wliite Heat Ltd., SantaFe, NewMexico. December 1993 - January 

Annual Pop-up and Movable Book Exhibit. December, 1 994 - January 1995. Featuring Vojtech Kubasta. 
Annual Pop-up and Movable Book Exhibit. December, 1995 - January 1996. Keith Moseley retrospective. 
National Geographic Society Action Books: Ten Years of the Best in 3D. June 1 -July 15, 

Annual Pop-up and Movable Book Exhibit. December 1 996 - January 1 997. Featured Robert Sabuda's books 
and engineering models. 

Annual Pop-up and Movable Book Exhibit. December 1997 - January 1998. Contains a history of his 

Annual Pop-up and Movable Book Exhibit. December 1 998 - January 1 999. Handmade and limited editions. 
Retrospective of works of David Carter. December 1999 - January 2000. 

-7 th 


10 ,h 

11 th 

12 th 

Spielbilderbiicher: Aus der Spielzeugsammlung des SMCA: Die Sammlung Hildegard Krahe. Salzburger Museum Caroline 
Augusteum. By Peter Laub. June 2 - October 27, 2002. Hardcover, 288 pages. Describes 323 books. All illustrated. 
Problem with color quality. 

Stand & Deliver: Engineering Sculpture into Book Format. Florida Atlantic University, January 10 - March 27; Brookfield 
(Connecticut) Craft Center, April 1 1 - June 6; Denver Public Library, June 3 - July 29; Mesa College (San Diego, 
California), September 7 - October 7; Columbia College (Chicago), September 1 6 - October 28, 2004. 2 illustrations. 
Catalogs/pop-up/interactive CD limited to about 950. 

Thinking Editions: An Exhibition of Artist Book Multiples by Edward H. Hutchins. Nathan Marsh Pusey Library. Harvard. 
September 1 5 - November 1 0, 1999. Flexagon pages. 26 pages. Limited tol ,000 copies. Contains a set of 3 post cards. 

Tliis Magical Book: Movable Books for Children, 1771-2001. Toronto Public Library, 2002. Movable metamorphosis inside 
front cover. Arranged by date, Harlequinades to modern spectacular pop-ups. Each item is illustrated and annotated. 
1 ,000 copies. 

Top of the Pop-ups: 150 Years of Movable Books. Bethnal Green Museum of Childhood, London. February 23 - 

April 30, 1988. Handlist. 16 pages. 128 titles listed by paper engineer or subject. 

Toy Books from the Collection of Raphael Griinzweig: Pop-ups, Movable, 3-D & Novelty Books. Summer 
2001. Ra'anana Israel Culture Department. 40 pages. 

Trans Fotom. Paper Art & Paper Engineering. Atrium Gallery, Cal State Fullerton. November 22, 2002 - March 30, 
2005. 4 pages Illustrated. Announcement with one pop-up. 

Online Exhibition Catalogs 

The Great Menagerie: The Wonderful World of Pop-up and Movable Books, 1811-1996. Exhibition in the Rare Book 
Room, Willis Library, University of North Texas. November 1997 - February 1998. History by time period. 
Describes 76 titles, pop-up videos. 

Moving Tales Paper Engineering and Children 's Pop-up Books. State Library of Victoria, Australia. August 18 - 
October 1, 1995. History, brief description of 35 titles. The site is no longer available but the home page is 
archived at: 103/slv/children/popupbooks/ 

Pop Goes the Page: Movable and Mechanical Books from the Brenda Forman Collection. University of Virginia. 
May - August 2000. 

Pop-up and Movable Books: A Tour through their History from the Nineteenth Century to the Present Featuring 
Examples from the Weaver Collection. University of North Texas. 1999. 

Pop-up World of Ann Montanaro. Rutgers University. July - April, 1996. 

Spring Swprises: Popular, Literary and Scientific Pop-up Books. Rare Book and Special Collections Library, 
University of Illinois at Urbana-Champaign. April - May 1999. 

World of the Child: Two Hundred Years of Children 's Books. An exhibition at the Hugh M. Morris Library, 
University of Delaware Library. February 17 - June 12, 1998. 

Libres Mobils I Desplegables 

co 1 «eie ■ «r a« n Oana Ofk^B l^a lac ioj 

pop - up booh/ 


' ; * d t 

Libros Desplegables 

The Flowering Tornado 

Oddities and eccentricities in pop-up books 

Corrie Allegro 

material vanished into warehouses in Zurich. This treasure 
trove of material came to light only recently and throws a 
political aspect into the history of pop-ups. 

One part of my book collection that gives me great 
pleasure is the unusual, quaint and one-of-a-kind items 
that populate the shelves. You wonder why the publishers 
gave the nod to go-ahead with another eccentric 
publication that will, if lucky, get on the remainder tables 
or disappear without trace. Just as well! 

My hunting and gathering instincts seem never to be 
appeased, as I always come across another strange 
publication with a paper movement that has a surprise in 
store. This mania of collecting, the obsessive nature, the 
insatiable thirst, the sight of your family shaking their 
collective heads, the lack of finance, all this and more is 
the sorry state of your addicted bibliophile who cannot let 
go. But as a tragic collector and a graphic designer by 
profession, the following examples of pop-up oddities 
appeal to my visual and humorous side as well as their 
intrinsic pop-up and movable aspects. 

The following small selection, of many from my 
collection, is in order by publication date. 

Micky Maus 

1936. Micky Maus-Die Waldmanniein und Konig 

Publisher Bollmann of Zurich, Switzerland had the 
Walt Disney publishing rights for German speaking 
countries and in 1936 brought out this version of the 1933 
Mickey Mouse Silly Symphony, originally published by 
Blue Ribbon. There 
was only one 
problem. Nazi 
Germany had 
banned all Disney 
products and 
Mickey was 
definitely off limits. 
The U.S. had used 
all means of 
propaganda to help 
the war effort and 
Donald and Mickey 
were no exceptions. 
Hitler's ban lasted 
from 1936 to 1951. 
Of course, since 
then, Mickey and 
the rest have 
regained these lost 

1939. New York World's Fair Peepshow 

This very nice souvenir portrays a view of history 
looking back to 1789 from the World of Tomorrow. 
Through the peephole and five deep layers you, and 
George Washington (on the front cover), can ponder on 
the days ahead. It is an interesting publishing idea to 
illustrate 150 years of history in the modern era by an old 
idea of the peepshow, but it works! People find it 
fascinating to peer down a tunnel, even of paper layers, 
and let their eyes be deceived for a few moments by the 
illusion of depth created by the use of diminishing sizes of 
figures and shades of color. There have been amazing 
examples of peepshows throughout the last centuries and 
this small example is a one-of-a-kind classic. 

Micky Maus 

New York World's Fair Peepshow 

The Bollmann stock of books, promotional flags with 
Mickey holding an open pop-book of him, and all other 

Lourdes, Sainte Bemadette 

1958. Lourdes, Sainte Bemadette 

This book was published by Lucos in France on the 

100 th anniversary of the first vision experienced by the 

three little 

girls from 

Lourdes . 

Eight large 

p o p - u p 



their life 

stories in 

soft pastel 

water color 


by the artist 

Gildas. The text is in English, German and French and on 

the inside of the front cover there is a printed form dated 

10 lb March 1958 sanctioning this book as an official 

souvenir by the St. Bemadette Society, Strassbourg. It is a 

quaint book with a young audience in mind but also 

intended to be used as a primer and faith renewal for the 

There is 
quite a 
rel igious 
available in 
p o p - u p 
books and 
if requested 
this section 
can be 

Lourdes, Sainte Bemadette 

1967. Andy 

Published by Random House and with the input of 
paper engineer Bruce Baker, what can you say? Complete 
indulgence of pop-art trivia in pop-up form by the master 
of kitsch and probably not surpassed in narcissistic 
behavior until Madonna's interesting book on sex, which 
1 haven't got! The book celebrates "The Factory," 
Warhol's avant-garde artist/media junkie's paradise. Nat 
Finkelstein the in-house photographer summed up the 
times, ".../ was at a party at the Factory. I was getting on 
with a girl. ...and when I looked up, what I saw was 
decadence. So I decided I wanted to photograph this 

Andy Warhol's Index (Book) 

aspect of American society... " This book is an example of 
the self-conscious efforts Warhol went to in documenting 
an art style that is vapid and shallow but brilliantly sold by 
him to the critics and the establishment in his over- 
extended 15 minutes of fame. From the Chelsea Girls' 
paper disc to the Velvet Undergrounds' plastic rock disc 
the complete book came in hard and soft editions. My only 
missing book insert bits are the tiny sponge and the 
condom/balloon which goes to show that all good things 
perish sooner or later. 

1 970. do it the hard way: Rube Goldberg and modern 

The Smithsonian's Museum of History and Technology 
had an exhibition of the eccentric cartoonist and sculptor 
Rube Goldberg. This 20cm. square catalog booklet of 28 
pages encapsulates the Goldberg Law, "men will always 
find a complex method for doing a simple task. " Goldberg 
is famous for his intricate cartoons of incredibly 
complicated contraptions to solve basic tasks sprinkled 
with his irreverent humor. There is only one pop-up in the 
middle pages but it's a beauty! In simple black and white 
the caption explains how to make it easy for the man who 
blows his 
horn! A very 

being pushed 
in a 

is about to be 
pounded on 
his corpulent 
stomach by a 

do it the hard way 


creating a very loud toot that is exhaled through a 
megaphone attached to his mouth. Pulitzer Prize winner 
Goldberg was a true eccentric inventor and to have him 
celebrated in a pop-up is fantastic. Actually it would be 
great for a complete pop-up book to be made of his 
cartoons and sculptures. Here is the challenge, paper 

1986. Luna, a poetic extravaganza! 

This is a 
by Ron Van der 
Meer's design 
company of 
Keith Haring's 
sculpture of a 
created for a 
"modern art 
exhibition in Hamburg, Germany. It was a gathering of an 
elite crop of artists ranging from Salvador Dali and David 
Hockney to the composer Philip Glass. Keith Haring 
(1958-1990) was the multi-talented performance artist 
who first made his name in the New York subway 
redesigning the advertising hoardings! One day, while 
waiting on a subway platform, he noticed some empty 
advertising displays against the platform walls. Haring 
said, "These panels are just dying to be drawir on!" The 
drawings were quite simple - pyramids, flying saucers, 
human figures, winged figures, television sets, animals, 
and babies. These icons became his trademarks and his art 
can be found around the world; in my city of Melbourne 
there is a college wall featuring an impressive Haring 
mural. This large single pop-up is striking, in bold, bright 
colors and the vibrancy is brought to the fore by the use of 
the pop-up in making Haring's figures jump off of the 2D 


There are many more examples of the exotic and 
eccentric in movable and pop-up books and related 
ephemeral. It's fun to drag out these items from the 
shelves and share the knowledge. 


Theo Gielen 
The Netherlands 

Dutch collector Adriaan Heino has added a 
remarkable extension to his website by putting up a 
complete catalog of his collection of movable, pop-up and 
novelty books. They are bibliographically described with 
short commentaries and some include pictures. Since 
libraries haven't collected movable books until the recent 
past, it is very difficult for the collector and the researcher 
to get a survey of what has been published. Therefore, 
private collections prove to be very important in 
understanding the scope of these publications. Mr. Heino's 
initiative to share his holdings is, therefore, welcome for 
both collectors and researchers. Experience has shown 
pop-up collectors to be very accessible people who 
generously exchange information, send needed details, 
and even provide scans of their special items when 
requested. Additionally, it is interesting, of course, to see 
what is in a collection and what is not, the highlights, 
preferences, and oddities. Let's hope that his example will 
be followed by other collectors in the future. The site has 
a new server even though the old address is still on the 
net. It can be found at 

On August 1, 2005 the U.S. Internal Revenue Service 
officially recognized The Movable Book Society, Inc. as 
a non-profit organization and, thus exempt from Federal 
income tax. This also qualifies The Society to receive tax 
deductible bequests, or gifts. 

Movable Reviews 

Marilyn Olin 
Livingston, New Jersey 

1 = AWFUL 2 = POOR 
3 = O.K. 4 = GOOD 


Rating: 4H 

DINOSAURS. By Robert Sabuda and Matthew Rinehart. 
Published by Candlewick Press in July, 2005. ISBN 0- 
7636-2228-1. $26.99. 9 3 / 4 x 8 % in. 12 pages. 6 large pop- 
up dinosaurs and 20 to 30 additional smaller pop-up 
dinosaurs. The text is informative and fun and the multi- 
pop-ups are colorful and exciting. This is an amazing feat, 
forget about any future dinosaur pop-up books topping it. 
Each dinosaur is spectacular. A must-have for the 
collector and any child or adult who loves dinosaurs. 
Paper Eng.: Unbelievable! 

Rating: ^ 

THE ARK. Paper 

engineering, design and 

illustrations by Matthew 

Reinhart. Published by Little 

Simon, an imprint of Simon 

and Schuster Children's 

Publishing Division in Feb., 

2005.ISBN 0-689-85909-0. 

$16.95. 9.4x7.3 in. 12 pages 

with 6 large pop-ups and also 

small page inserts with many 

additional pop-ups. This book is crammed full of 

wonderful pop-ups. It is colorful and exciting. The story is 

told on each page as you view the pop-ups. The animals 

on the gangplank are fabulous. Paper Eng.: Complex, but 

works perfectly. 

Rating: 4Vl 

GARDEN. By Kate 
Petty and Jennie 
Maizels. Paper 
engineering by Corina 
Fletcher. Published by 
Eden Project, an 
imprint of Transworld 
Publishers, a division 
of The Random House 
Group, UK in May, 

Ar. * jffiM,>*/di ye 

■# %^^'M^v 

2005. ISBN 1-903-91916-9. $22.82. 9 % x 9 X A in. 10 
pages. This is a well-illustrated book with lots of pull-tabs, 
lift-the- flaps and some lovely pop-ups. It also explains the 
many things that come from plants in a delightful way. 
Paper Eng.: Fun and well-done. 

Rating: 4 


GLOBE-An Interactive 

Pop-Up Theatre. By Toby 

Forward. Illustrated by 

Juan Wijngaard. Published 

by Candlewick Press in 

May, 2005. ISBN 0—7636- 

2694-5. $19.99. 12 x 10 V* 

in. This set consists of one 

large pop-up which shows 

the outside of the Globe 

Theatre and also the stage. Two scripts are enclosed of 

scenes from many of Shakespeare's plays and some 

explanation about them. A wonderful way to introduce a 

child to his plays. There are tiny players so that the scenes 

can be worked out on the stage. Paper Eng: Well-done. 

Rating: 5 

Published by Popular Kinetics Press in 2005. ISBN 0- 
9627752-0-7. $24.00. 68 pages. 9 'A x 6 in. Wire bound 
and hard cover. See for 
ordering information. This is basically a wonderfully 
thought out workbook that guides you through the process 
of designing and constructing pop-up forms. It is done 
extremely well with easy to follow visual instructions and 
models you can do yourself. I would also order an extra 
card set for $14.00 plus shipping. In this way you do not 
have to cut the cards out of the book or you can order them 
to work with a class. Paper Eng. and Instructions: Clear 
and well done. 

Rating: 3 /2 

Richards. Illustrations and paper engineering by Linda 
Birkinshaw. Published by English Heritage in 2005. ISBN 
1-8507-4926-4. 16 pages. On it is about 
$18.43. 12 Va x 7 !/i in. 2 large pop-ups and other movable 
devices. The Stonehenge pop-up is very good and works 
well. It can also be purchased from booksellers on 
Amazon in the USA. This book gives a child some 
background and history about how Stonehenge was built 
and used. The only problem is that the title gives you the 
feeling that there are more pop-ups in the book than there 
are. Paper Eng.: Very good. 

Rating: <4 


Illustrations by 

Toby Bluth. 

Designed by 

Katie LeClerq at 

Becker & Mayer. 


engineering by 

David A. Carter. 

Published by 

Disney Editions 

in June, 2005. 

ISBN 0-7868- 

5556-8. S30.00. 

14 pages. 8 x 9 '/4 in. 5 double-page pop-ups. This is a 

long overdue, much too short, Disney pop-up book for 

adults. It is well done, but I expected something more 

spectacular from Disney. The book opens in the center and 

each pop-up is framed by the inside covers. The 5 pop-ups, 

from different films, fold down and on each page there is 

an additional fold-out about that movie. While the cover 

is black & white the pop-ups are in color. Paper Eng.: 

Very good. 

Changes to ISBN 

Ann Montanaro 

East Brunswick, New Jersey 

A global revision of the International Standard book 
Number (ISBN) structure, now beginning to be 
implemented, will take effect on January 1, 2007. The 
ISBN system, designed for books in the late 1960s, is a 
10-digit number (9 digits plus a check digit), with the 
capacity to assign 1 billion numbers. However, due to the 
large number of books being published, both print and 
electronic, there are not enough numbers to meet the 
demand. Once the change is complete, all existing ISBNs 
will be prefixed with 978 and the check digit will be 

Some books are already being published with two 
ISBNs, one with 10 digits and a second with 13 such as 
Encyclopedia Prehistorica: Dinosaurs by Robert Sabuda 
and Matthew Reinhart. As shown in the barcode from the 
book, it has both a 10-digit ISBN f 0-7636-2228-1), and 
the new 13-digit ISBN (9780763622282). There are 
several reasons this is of interest: first, it will be another 
way to date books issued without a publication date; 
second, some collectors use inventory software that has a 
fixed field length for the ISBN that will have to be 
modified to accommodate the new number; and third, it is 
an event in book publishing history. 

The ISBN is a hierarchical system and it is the 
internal structure of the ISBN itself that limits the capacity 
of the system. If the ISBN were a "dumb number" (i.e. if 
it did not contain any meaningful internal elements), all of 
the unassigned numbers would be available for use. But, 
because the system is partitioned into pre-determined 
blocks, the actual capacity is much less. 

Blocks of ISBNs are allocated by the International 
ISBN Agency to specific regional groups or countries. 
Those blocks are identified as the "group identifier" which 
is the first element an ISBN. (For the complete list of 
group or country codes see: 
details.html.) Within each regional group or country, 
blocks of ISBNs are allocated to specific publishers 
according to their publishing output. Those blocks are 
identified by the "publisher identifier" (sometimes called 
the "publisher prefix"), the second element of an ISBN. 
The next set of numbers identifies a specific title, and the 
final number is a check digit. 

The barcode below follows the ISBN structure: the 
group identifier is 0, meaning it was issued in an English- 
speaking country. The second set of numbers (7636) is 
assigned to Candlewick Press. The third set of numbers 
(2228) is assigned to Encyclopedia Prehistorica: 
Dinosaurs; and the final number (1) is the check digit 
used to validate all of the numbers. 

The smaller barcode, printed to the right, is the "price 
add on." Most retailers in the United States require this 
barcode. The five digit add-on encodes the suggested retail 
price. In the U.S., the first digit of the add-on is the 
number 5, which indicates U.S. dollars. The remaining 4 
digits encode the price without decimals. 

For more information see: 

ISBN 0-7b3k-5558-l 

ISBN 076362228-1 

7 «32483«00228ll | 7 

9 780763 ll 622282 l 

5 2699> 

Barcode for Encyclopedia Prehistorica: Dinosaurs 

Adult Entertainment, continued from page 1 

As there were hundreds of movable books in print, they 
appear to have been regarded as a fairly normal 
occurrence by sellers and readers. Occasionally, authors 
take credit for inventing the interactive components in 
their books. This insistence doesn't suggest the printer had 
never seen other examples, but simply drew attention to 
their own particularly novel approach. 3 In response to the 
scattered bibliography documenting these works, my 
dissertation includes catalogs of all these books and 
separate prints through 1700. Excellent studies of 19 th 
century movable books, particularly of children's fare, 
already exist as models for this approach. 

In the Renaissance, these books and prints were 
often didactic, but they were also visually bold and 
intriguing adult playthings. In particular, the flood of 
German anatomical models with flaps demarcating the 
skin and organs helped inspire some of the more creative 
Protestant propaganda. Children might think twice about 
playing with a broadsheet after its flap-skin revealed to 
them that Pope was really the Devil. When they bore no 
relation to science or religion, some of the more ribald 
movable sheets and volumes depended on allegory to 
avoid appearing utterly immoral. Due to the more 
complicated subject matter and expense of full-length 
texts, as well as the relatively low standard of literacy, the 
books were also intended for adults. Children would have 
to wait almost until the 19 lh century to get their hands on 
movable books of their own. 

Early humanists and modern movable book 
collectors are not the only ones to appreciate these rarities. 
Several exhibitions in the 1990s have highlighted 
interactive illustrations and prints as part of the pre- 
history of film. These veritable Kunstkammern of optical 
effects covered as much thematic ground as interactive 
printmaking did. The rich collection of the German 

filmmaker Werner 
Nekes contains an 
impressive number of 
them. These include 
the famous Georg 
Bartisch Augendienst 
text on optometry 
printed in Dresden in 
1583, in which the 
viewer can dissect an 
eyeball into five flaps, 
and then lift five more 
layers of a skull to 
view the optic nerves 
from above. 4 As any 
playful polymath of 
that era might, Nekes 
Figure 2 

also owns a folding allegorical engraving from Antwerp 
around 1600, which contrasts a female figure of plenty 
with one of chaos. By dropping her skirt on one flap and 
raising her torso with another, the viewer transforms the 
image of the woman from a dispenser of milk and honey 
into a worm-infested, ape-faced horror. This surprise of 
the juxtaposition made the print both shocking and 
entertaining, and as much of a memento mori as Bartisch's 

Nekes rounded out his collection of interactive 
ephemera with a late 18 lh century watercolor of a lady, 
equipped with both another liftable skirt and considerable 
anatomical correctness. Liftable-skirt engravings were 
extremely popular in the late 1 6 th century from the north 
to the south: one stereotypical Venetian courtesan found 
immense fame through the guise of ambiguously gendered 
undergarments and ludicrously tall shoes. A costume book 
included the courtesan in 1589, only to have the entire 
volume copied in reverse, flaps intact, shortly thereafter. 5 
The courtesan reappeared almost a dozen times on other 
sheets with lovers in gondolas and carriages covered by 
discreetly opaque curtain flaps. 6 Even so, the viewer's 
anticipation of illicit pleasure was as likely to end in 
discovering skeleton legs, or trousers, as it was to 
encounter ones of verifiably feminine flesh and blood. 

While flaps and dials restrict Nekes' early 
"moving pictures" to basic circular and up and down 
movement, one class of interactive print did require a light 
source: build-your-own sundials. Peter Apian included 
sheets for this purpose in several of his books, but like toys 
today, they often came "batteries not included." 7 While the 
sun powered the dial, it was missing components such as 
compasses to orient the dial for the correct time, and tiny 
pointers, or gnomons to catch the sun's shadow. Printed 
sundials and other paper instruments were also sold 
singly, especially in Nuremberg, where the mathematician 
Georg Hartmann produced at least sixty such sets between 
1526 and 1564. 

A woodblock carved in Bavaria during the mid 
1520s reveals one of the most complex of these sundials. 8 
Ornately designed, it reflects the gravity of its time-telling 
function in a memento mori woman cradling an hourglass 
and a skull. Although no 16 th century impressions from 
the block are known, this anonymous octahedral sundial 
has been reprinted since its acquisition. (Fig.l) Seven of 
its eight triangular faces serve as sundials, while a hole cut 
through the entire block shows that the eighth originally 
held letterpress, presumably the assembly instructions. 
Without them, the sundial becomes more difficult to 
construct, but as the instrument rests on the face the 
instructions once occupied, it looks no different during 
use. (Fig.2) The tiny rosettes beneath the six suns, and at 
the base of the memento mori, mark the location of each of 



Origami diagram symbols: 

Fold the paper toward you, resulting in 
a trough. Called a "valley-fold." 

Fold the paper away from you, resulting in 
a peak. Called a "mountain-fold." 

Existing crease 


Fold in the direction of the arrow. 

Fold in the direction of the arrow, then 

Turn the model over. 






_ 1 





1 . Begin with the color 
side up. Valley-fold 
and unfold left to right. 
Turn the model over. 

Valley-fold and unfold 
both sides to the center. 
Turn the model over. 

Fold the four corners to the 
center (indicated with a black 
dot), but only to the crease 
made in step 1, (The dotted 
lines show where the fold would 
have continued.) Turn the 
model over. 





4. Valley-fold the four corners 
to meet the creases made 
in step 2 (as indicated by 
the black dots). 

Valley-fold the top and 
bottom edges to the 
center, keeping the 
corners tucked in Unfold 
the bottom edge. 





Lift up the colored flap 
along the diagonal 
valley-fold, while at the 
same time allowing the 
side to fold up 90°. 

Copyright (c) 2005 by Joel Stern 

Trampoline - 2 

7. The model is now 
shown in 3-D. Repeat 
step 6 on the left side. 

8. Valley-fold and unfold 
the tip of the triangle 
to its base. 

Fold up the triangular flap three 
times: the tip to the crease made 
in step 8, then along the crease 
from step 8, then again to the 
inside edge. 

10. Step 9 completed. Rotate the model 
half way around, fold the other edge 
to the center, and repeat steps 6-9 on 
this flap This will be a little more 
difficult because you'll have to work 
"inside the box." 

1 1 . Steps 6-9 are now completed on 
the other side. The model has two 
rectangular side walls, connected 
to triangular props in front and 
back. Flip the model over. 

12. Press gently along the existing 
valley-fold. The model will 
collapse into two tent-like 

13. Here is what the model looks like 
while collapsed. When you lift your 
finger, the model will spring back into 
the shape shown in step 12. 

Copyright (c) 2005 by Joel Stern 

the seven gnomons. The suggested length for these wires 
is also indicated under the woman — the horizontal line 
with vertical bars on either end. The compass belongs in 
the empty circle on the opposite triangle. Only one 
adjustment remains for accurate time-telling: the gnomons 
must be set at the correct angle for the latitude of their 
location. Unfortunately, we don't know where the object's 
commissioner lived, and though the two diagrams above 
may help establish that latitude. 

Constructing such a complicated instrument 
required patience and skill. Presumably, many owners of 
this sheet simply paid an artisan to cut out a wooden block 
for the interior, cut out and glue the print onto it, and then 
furnish it with all its extra components. The end product 
would be a horological tour deforce, for the dial could tell 
time on every one of its sides as the sun moved across its 
faces. Though printed sundials were cheaper than ivory or 
metal ones, the geometric form of this dial would still 
please the many European scholars with a taste for the 
elegance of Platonic solids. 

These brief examples of the ways early movable 
books and prints could divert their reader, teach, and even 
titillate him only begin to explore their infinite variety. 
They range dramatically in medium, quality, decoration, 
and even shape — from deceptively two-dimensional to 
fully sculptural. While many were meant primarily for 
literate males, others sought a wider audience with their 
self-explanatory illustrations and occasional modifications 
for use by women. 9 While I have identified over a hundred 
distinct prints, and even more books with movable 
illustrations, unknown examples probably remain hidden 
in private collections. Indeed, I would be most grateful to 
hear of any impressions or rare objects I may have missed. 
Could some interactive books and prints intended for 
children survive from this era after all? If anyone has 
collected them, please let me know. I'd be delighted to 
write about them. 

"ufe, and admirable effects thereof in a little mooveable 
instrument of mine owne devise," to design your own coat 
of arms. Two strips of paper each printed with three 
cinquefoils are sewn to the center of an empty shield. 
Three are visible if the viewer rotates the strips with one 
on top of each other; with the slips apart, five can be seen. 

4 von Dewitz, Bodo, and Nekes, Werner, eds, Ich Sehe 
Was, Was Du Nicht Siehst!: Sehmaschinen und 
Bilderwelten, Steidl (Gottingen; Steidl Verlag, 2002), 
illus. pp. 193, 250, 256; discussed on 274-5. 

5 Bertelli, Pietro, Diversarum Nationum Habitus, Patavij, 
1589. Women wearing such shoes, called chopines, are 
often depicted with servants on either side to help them 
keep their balance. 

6 The Venetian blind - or jalousie would only come into 
use in paper in the 18th century. Nekes' collection 
includes a tab-pull engraving from 1760 showing two 
different saints, which functions on this principle, op.cit, 
p. 240. 

Due to the complexity of the multilayered dials in 
Apian's 1540 Astronomicum Caesareum, he constructed 
and colored the entire run entirely in his own workshop. 
Apian included variations on sundials in: Horoscopion 
Apiani Generate Dignoscendis, 1533; Instrument Buch, 
1533; Folium Populi, 1533. 

The block is now in the clock department of the 
Bayerisches Nationalmuseum, Munich, inv nr. 72/130. 
The curator, Lorenz Seelig, kindly gave me my own 
impression of the print. 

9 See my article, op. cit, p. 1 16-122 on the dedication a 
fortune-telling book to Anna of Bohemia, wife of the 
future Emperor Ferdinand, and its unusual measures for 
accommodating female readers. 

For a more detailed discussion of the interactive dial, 
and more bibliography, see my article, Karr, Suzanne, 
"Constructions both Sacred and Profane: Serpents, Angels 
and Pointing Fingers in Renaissance Books with Moving 
Parts," Yale University Library Gazette (April 2004, New 
Haven): 101-127. It may soon be available on Robert 
Sabuda's website, "" 

Perhaps the first to coin a term was Wilhelm Edouard 
Drugulin, who noted six flap prints, or Klappbilder, in his 
Historischer Bilderatlas, from 1863-67, nrs. 1761-2, 
1878, 2502, 2503 (2 sheets). 

In Edmund Bolton's The Elements of Armories from 
1610, p. 198, he promises the "Gentleman Reader" the 

Catalogs Received 

• Thomas and Mary Jo Barron. "Childrens & 
Illustrated Books." 120 Lismore Ave., Glenside, PA 
19038. Phone: 215-572-6293. 

• Sotheran's of Sackville Street. "Children's and 
Illustrated Books. Spring/Summer 2005." Henry Sotheran 
Limited. 2 Sackville St. Piccadilly, London W1X 2DP. 

• Jacques Desse's Boutique du livre Anime. 
Bulletin 1. Available on request from libraires- 


Pop-up Garage 

Joe's Garage, a recreation of a 1930s garage, is the 
most recent addition to the pop-up structures from Hestia 
House. The cardboard model features two repair bays, a 
drive-thru awning, a foyer with back office, two island 
pumps with a sign and a cardboard car and truck. The 
roofs lift up for easy access and the garage folds flat for 
storage. Tools and parts cover the walls, along with 
vintage advertising art. The gas station is sold fully 
assembled, and the cardboard vehicles are precisely laser 
cut and easy to put together. The set, scaled for metal 
die-cast vehicles, is 8-inches by 17-inches when folded 
flat. It can be seen and ordered at: This pop-up, created by 
Ilisha Helfman, follows her previous large pop-up model 
Emily's Dollhouse. 


Pyramid Atlantic is offering bookmaking, printmaking, 
and papermaking courses throughout the fall. In 
December, member Maria Pisano will be teaching both 
miniature books and carousel books. For more information 
about this program see or 
write for a fall newsletter and class schedule. Pyramid 
Atlantic, 8230 Georgia Ave., Silver Spring, Maryland 

Women's Studio Workshop, supporting the creation of 
innovative work in printmaking, papermaking, and artists' 
books, offers grants for artists, fellowship programs, and 
summer workshops. For more information see or write to Women's Studio Workshop, 
P.O. Box 489, Rosendale, New York 12472. 

Questions and Answers 

Q. 1 recently saw a reference to Noah 's Ark, part of the 
Living Bible Stories series from The Wagner Company. 
The book was illustrated by Virginia Marie Cook and was 
published in 1 964. What are the other books in this series? 

Ann Montanaro 

Q. Really puzzling for me is the technique used for a 
political propaganda postcard from the First World War. 
The caption reads: "Who will gain the victory?" By the 
pull of a tab a small bandage slides through the window 
and the picture of the German emperor William II 
transforms into the picture of the then King Albert of 
Belgium. One sees clearly that none of the pictures slides 
away- up or down. The new picture becomes visible as if 
it really is under the small bandage The top of Albert's 
head appears first, followed by the rest of his face, his 
neck and his shoulders in uniform. Somebody thought the 
picture unrolled from behind the bandage, but you cannot 
feel any thickening or rolled paper. Does anyone know 
how this technique works? And, does anybody know if this 
technique has ever been used in a book? 

Theo Gielen 

\ Wie Overwint ? I 

« 1914 —-s 1915 

* Wie Overwint 

__ — „__ 


1914 ^ „, 1915 { 


Schiller Prize 

The Bibliographic Society of America has announced 
the creation of the Justin G. Schiller Prize for 
Bibliographic Work on Pre-20th-Century Children's 
Books. Endowed by Justin Schiller, dealer in antiquarian 
children's books, the prize is intended to encourage 
scholarship in the bibliography of historical children's 
books. The prize will be awarded in January 2007 and 
thereafter every three years. It brings a cash award of 
S2000 and a year's membership in the Society. 

Submissions for the Schiller Prize may concentrate on 
any children's book printed before the year 1901 in any 
country or language. They should involve research into 
bibliography and printing history broadly conceived and 
should focus on the book (the physical object) as historical 
evidence for studying topics such as the history of book 
production, publication, distribution, collecting, or 
reading. Studies of the printing, publishing, and allied 
trades, as these relate to children's books are also 
welcome. For more information see: 

Pop-ups in the News 

• The July 2005 issue of National Geographic 

Magazine, v. 208, no. 1, pages 114-116, 118, 120, 
includes an article by Carol Barton. The story, entitled 
"Glen Echo, Maryland: 20812: It's Only a Paper Moon," 
is part of the magazine's Zip USA series. It is illustrated 
with assembled pop-ups created by Carol. The pop-pups 
can be viewed online at: http://www7.nationalgeographic. 
com/ngm/0507/feature6/index.html. The site also includes 
instructions for making your own pop-ups and a video of 
Carol re-creating the opening amusement park scene. 

• Ann Montanaro was the featured collector in the 
"How I Got Started" column of the July/ August 2005 issue 
of Fine Books & Collections. 

• It has been 25 years since 
the original release of Jan 
Pieiikowski's Haunted House. 
A new full size version with a 
foil cover and new pop-up 
features is due to be released 
in October by Walker Books. 



«o ! Ose 

Jsgga J peg. 


• "Not Just for Children: Pop-up and Movable Books" 
was an exhibition held at Indiana University's Lilly 
Library. While the books are no longer on display, pictures 
of the exhibit space and some of the books are available at: 
text/popup. shtml. 

• Member Mary Beth Cryan has started her own 
design studio offering paper engineering, packaging, 
illustration, surface patterns, toy and product creation. She 
worked as a product and packaging designer in New York 
and at a novelty toy and housewares design company in 
Rhode Island before starting Mary Beth Cryan Design. 
Examples of her work can be seen at 

Pop-up card by Mary Beth Cryan 

• Following the success of Jacques Desse's Boutique 
du livre anime in Paris, a new Pop-up Bookshop will open 
this fall in Dordrecht, a town near Rotterdam in The 
Netherlands. Harry Faber van der Meulen, although 
officially retired, will turn his hobby into a business 
specializing exclusively in three-dimensional books. 
Starting with a stock of over 800 pop-ups, movables, 
panorama books, carousels, leporellos, and split-page 
books, he intends to sell all kinds of paper engineering: 
antiquarian, second hand, remaindered, and new. He also 
will offer repair and restoration service. 

The website of the bookshop is now active and offers a 
selective catalog of his holdings to download. See where you also will find the 
address of the shop and how to contact Mr. Faber van der 
Meulen by e-mail. 


The Werner Laurie Show Books (2) 

Theo Gielen 

In the February 2005 issue of Movable Stationery (p 8- 
10) I published a contribution on the do-it-yourself 
peepshows designed and engineered by Jack S. Chambers. 
They were published by the London company of T. 
Werner Laurie Limited as Werner Laurie Show Books. 
Since my research hadn't answered all of my questions 
about the books, I asked for additional information from 
the readers. 

I was happy to receive a telephone call from British 
member, Rosie Temperley from Birmingham who had the 
additional information that I was seeking. Her additions 
provide the opportunity both to exactly date the series and 
to add at least two more titles to the company's list of 
published peepshows. 

First, Mrs. Temperley told me that T. Werner Laurie 
Limited indeed had been a small publishing house active 
in London for just a couple of years in the early 1950s. My 
assumption that the Show Books were their only 
publications, however, proved to be incorrect. She had 
seen some flat picture books produced by the company but, 
unfortunately, didn't have the titles since her husband, an 
antiquarian bookdealer, had sold them long ago. 
Surprisingly, Mrs. Temperley told me that from the books 
announced "series of six ballets" she knew for sure of only 
two published volumes! She herself had seen in a private 
collection a copy of The Swan Lake, and had found in the 
British Library Catalogue a further title from the series: 
Giselle. Both of them were published, according to the 
catalog, in 1952. As for the other four announced ballet 
titles, she also had not found any trace of them, so we can 
assume that they were never published. 

Her research in the British Library Catalogue also 
resulted in an exact dating of the two other series of 
Werner Laurie Peepshow Books. She found some of the 
titles from the Series A (the Enid Blyton series) to be 
dated 1951. My line of reasoning was that they should 
have been published after 1952 since the first book of 
Blyton's Mr. Tumpy series (on which 1 thought the Tumpy 
peepshow, number 5 in the A series, was based) only 
appeared in 1952. Mrs. Temperley knew that, although the 
first Mr. Tumpy book indeed was published in 1952, the 
character of Mr. Tumpy had popped up in Enid Blyton 
books from 1949 onwards. Sorry, my knowledge of 
Blyton's work was not that complete. 

The Series B (on biblical themes), though not recorded 
in the BLC, was also published in 1951. Mrs. Temperley 
possesses one of them with an inscription dated 
"Christmas 1951." Their official publication date could 
still have been early!952 since we know of additional 

publications dated in one year that were offered for sale 
during the holidays shortly before the official year of 

With this additional information I think the history of 
the Werner Laurie Show Books has been sufficiently 
written. I would like to thank Mrs. Rosie Temperley 
greatly for her information that made the history complete. 

Changing Faces 

Theo Gielen 

Changing Faces 

George Tscherny 

Great fun for 
any lover of 
surprise by 
transformation in 
books, printed 
ephemera, etc. is 
George Tscherny's 
Changing Faces, 
recently published 
by Princeton 
Press. Mr. 
Tscherny, in his 
own words, 
"collected for years antique toys without thinking much 
about it. That changed when I began to detect a 
connection; I focused on toys and printed ephemera that 
literally or symbolically moved or transformed themselves. 
To heighten the challenge of the search and to narrow the 
choices, I began concentrating on the face. The face is 
infinitely expressive; the subtle lift of an eyebrow can 
express as much meaning as the gesture of an arm. Here, 
motion expresses emotion. Of particular interest to me as 
a graphic designer is seeing how ingeniously designers 
and artists have historically resolved the problem of 
representation of actual or simulated movement in art and 
how they continue to do so today... My primary 
motivation for this book was an exploration and 
appreciation of movement and the perception of motion in 
the visual arts, specifically the face - human and 

The result is an offbeat and humorous collection of 
paintings, drawings, cartoons, masks, toys, booklets, 
advertisements, and other works of ephemera that - by 
flipping, spinning, twisting, pulling, or just plain staring 
- transform the human visage. Over 130 pieces of fully 
interactive objects, dating from the Renaissance, the 
Enlightenment, the Victorian era, till today, are pictured 
(mostly in full color) and briefly described. The result is a 
great picture book, with little text,- about a weird diversity 
of transformational items. Changing pictures, heads, 
bodies and legs, costume cards, topsys and turvys, paper 


dolls with turning heads, cards with wheels that provide 
lots of faces within one head (remember Meggendorfer), 
interchangeable facial features on postcards, or puzzle 
blocks, metamorphoses from the Regency period, split 
faces on trade cards, folding and unfolding panels in 
metamorphoses picture books from the 1 9 th century, and so 
on, and so on. There are 132 pages of all kinds of movable 
and novelty books! A wonderful book to turn over the 
pages again and again. 

George Tscherny, Changing Faces. Princeton 
Architectural Press, New York, 2005. 132 p. ISBN 1- 
56898-480-4. SI 9.95. 

News from Packagers 

The packagers and publishers of pop-up books continue 
to change. In the November 2004 issue of Movable 
Stationery, Theo Gielen, reporting on the 2004 Frankfurt 
Book Fair, announced the formation Inky Press. He wrote 
"The new company of Inky Press from Lewes, U.K., 
formed as a collaboration between the Ivy Publishing 
Group and Tony Potter Publishing, employs such paper 
engineers as Keith Finch, Andy Crowson, Corina Fletcher, 
Tony Potter, and David Hawcock." 

The website of Inky Press ( 
includes the following update: 

"The Directors of Inky Press are pleased to announce 
that agreement has been reached between Inky and 
Creations for Children International (C4Ci), a Belgian 
packager of children's books, to acquire the assets of Inky 
Press as per June P lc 2005. 

"Inky Press Limited will fulfil its current order book 
but all new titles or reprints will be carried out by C4Ci. 
"The sale of Inky will allow The Ivy Group to 
concentrate on its core activities of adult illustrated co- 
edition book packaging and publishing. At the same time 
it will allow the Inky name to grow with the dedicated 
focus that C4Ci will invest in the list. Inky Press will be 
operated as a devision [sic] of c4ci nv. 

"We would like to take this opportunity of wishing 
C4Ci lots of luck with Inky Press and thank all those 
talented writers and artists who worked with us for 
creating such wonderful work." 

Pop-Hop Mania 

Through the informative and frequently updated 
French pop-up book website we 
linked to the new site of a French collector of movable and 
pop-up books, Joel Selo. He tells how he started to collect 
movables after he had found in his attic an old, 
"interactive" geographical children's handbook 

published in 1 766: Atlas des Enfans, ou Nouvelle Methode 
pour apprendre la Geographie, avec un nouveau traite de 
la sphere et XXIV carte enluminees. The book had 
belonged to one of his ancestors. Remembering that he 
himself had a similar movable book in his childhood in the 
1950s, he searched to find it, and, thus, started his 

Selo's site, currently under construction, includes linkg 
to information on the restoration of pop-up books and the 
start of a glossary of French terms used to describe pop-up 
books. Another link includes lists of titles from series or 
the complete production of certain publishing houses. As 
a start there is a list of some 20 titles issued in the 1950s 
by the publishing house of Lucos in Mulhouse. Selo invites 
viewers to add other titles. 

He has also begun to show highlights from his 
collection. There is a very desirable book with inserts from 
the 1920s, done in a beautiful Art Deco style. The site is 
attractive, using lots of color pictures from books in his 
collection, several of which are moving (but very fast). 
Visit the site at: 

Paper Animation Kits 

Flying Pig sells kits of die-cut paper models that can 
be popped out and pasted together to make movable paper 
figures. A paper crank is used to make the figure move. 

The dozen or more 
models that are 
currently available 
include action 
animals such as a 
flying pig, a grumpy 
goat, and a walking 
cat as well as "The 
Outpatient." Once the 
latter model is 
assembled, a turn of 
the handle results in 
the hand, with 
bandaged thumb, to 
tap fingers 
impatiently on the 
doctor's waiting room 
desk. The printed 
models are available 
online for S8.95 or 
£3.75. Another dozen 
models can be downloaded for free or at a small cost. See 
the working models at 


Save the Dates 

New Publications 

The next conference of The Movable Book Society will 
beheld in Chicago, Illinois from September 14-16, 2006. 
More information will be available later this year. 

An exhibition of historical pop-up books (primarily 
English) will be held in Birmingham, England from June 
8-10, 2007. Rosie Temperley and Mike Simkin are 
planning the exhibit and one-day conference to be held at 
the Birmingham Museum and Art Gallery in Gas Hall. 

The following titles have been identified from pre- 
publication publicity, publisher's catalogs, Internet 
sources, or other advertising. All titles include pop-ups 
unless otherwise noted. 

Baa Humbug! A Sheep with a Mind of His Own. Templar. 
£5.99. 1840114428. 

Blue's Pop-up Surprise! 16 pages. Simon & Schuster. 
S8.99. 0-6898-7671-8. 

MenOpop Special 

The publishers of MenOpop: 
a Menopause Pop-up and 
Activity Book are offering it to 
Movable Book Society 
members for a limited time at 
50% off the cover price. 
'That's right, get it for only 
$12.48. Paper engineered by 
Andrew Baron, this seven- 
spread book is chock-full of 
pull-tabs, pops and highly 
sophisticated mechanics. 
MenOpop has been on CNN, 
ABC World News, Fox, was 

Dave Barry's pick for his Holiday Gift Guide, and was 
featured in Maxim, FHM, 77;e Chicago Tribune and the 
Washington Post." 

Christmas in New 
York: A Pop-up Book. 
By Chuck Fischer. 
October. 1 2 pages. 
Bulfinch. S35.00. 0- 

The Christmas Pop-up Present. By John Rives. 
October. 24 pages. SI 9.95. 0-689-86643-7 

Cinderella. By Matthew Reinhart. October. 
Little Simon. S24.95. 1-4169-0501-4. 
Limited edition: S250.00. 1-4169-0540-5. 

12 pages. 

When you check out online at, 
simply enter the coupon code: POPUP 

Buy as many as you want for only S 1 2.48 each, plus s/h. 
The offer is good for online orders only at, and only until October 31, 2005. 


Pop-up enthusiast Joel Stern is also a fan of origami. 
Recently he developed a model that straddles the worlds of 
pop-ups and origami - a trampoline that pops up after you 
press down the center. It only requires a square of paper 
- no scissors or glue. Templates are included for readers 
who might enjoy assembling one. 

Deep Sea. By Sally Hewitt. 
Face to Face series. Poppy 
Red. £9.99. 1902227751. 

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Dr. Seuss Pops Up. 
Random House Books 
for Young Readers. 1 4 
pages. S24.95. 


Fairly Odd Halloween. 16 pages. 
Spotlight/Nickelodeon. $6.99. 0-6898-7676-9. 

Firefighter. By Ken 
October. 10 pages. 
Chrysalis Children's 
Books. £5.99. 
Also: Police Rider. 

Louie 's Circus. Pull and Pop. 
By Yves Got. Zero to Ten. 
£9.99. 1840894318. 



. '!. .; 

^ takes 
a .stroll 

The Fold-Out Book of the 
Human Body : Classic 1906 
Edition. By Alfred Mason 
Amadon. October. 68 pages. 
Bonanza Pop-Up Book. 
Gramercy. $12.99. 

Mole Scores a Goal. By Sue 
Hendra. September. 
Meadowside Children's. 
£4.99. 1845390539. 
Also: Mold Digs a Hole. 

The Most Amazing Hide- 
and-seek Numbers Book. 
By Robert Crowther. 
September. Walker. £6.99. 

Harry and the Bucketful of Pop-up Dinosaurs. By Ian 
Whybrow. October. Puffin. £12.99. 0-141-381 12-4. 

The House that Jill Built. September. Candlewick. 20 
pages. 10x10 inches. $15.99. 0-7636-1008-9. 


W ...vjr-P ol '5 ■ 

Jurassic Jumble. Mix-up- 
pops. By Keith 
Faulkner. 10 pages. 
Barron's Educational 
Series $8.95. 
Also: Ocean Oddballs. 

My Little Case of 
Creepy-Crawlies. A 
Pop-out Book. By Jo 
Lodge. Scholastic. 
$10.35. 0439959926. 
Also: My Little Case of 
Fa r m Animals. 

Nova's Super-Galactic Pop-up. By David Kirk. October. 
16 pages. Calloway. $22.99. 0-4484-3993-x. 



A Vvp-Up Sock (or Children of Afi Ages by DdVld A . CB rtSf 

One Red Dot: A 
Pop-up Book for 
Children of All Ages 
By David Carter. 
September. 18 
pages. Little Simon. 

Limited edition: 

Pirate Ship 
Pop-up. By Nick 
Denchfield and 
Steve Cox. 
October. 14 pages. 
Children's Books. 

3 9088 01629 3128 

Sea World. Picture Pops. 
Priddy. £7.99. 

Also-.Jungle. 1843322587. 
Machines. 184332265x. 

Wlio 's Under that Hat?: 
A Lift-the-flap Pop-up 
Adventure. By Sarah 
Weeks and David Carter. 
October. 14 pages. Red 
Wagon Books. $13.95. 

Wanda 's Washing Machine. Little Tiger Press. £7.99. 

Pop-up Aesop. October. J. 
Paul Getty Museum. 12 
pages. 8'/2 x 1 1 inches. 

A Winter's Tale: An 
Original Pop-up 
Journey. By Robert 
Sabuda. September. 
12 pages. Little 
Simon. $26.95. 
Limited edition: 

Waiter's faic 

Quintessential Disney: A Pop-up Gallery of Classic 
Disney Moments. By Robert Tieman and David Carter. 
Disney Editions. $30.00. 0-7868-5556-8. 

Safari Shapes. By Jonathan Emmett. Gullane Children's. 
£7.99. 1862335834. 

Samantha Squid. Penguin Young Reader's Group. $ 1 6.99. 

Zoom!: A Fantastic 
Pop-up Adventure. 
September. 1 2 pages. 
Macmillan Children's 
Books. £9.99.